i 



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HOW TO PAINT- 



FLOWERS, SCROLLS and 
FANCY BORDERS 

for up-to-date 

SHOW CARDS, 
POSTERS, 
DISPLAY SIGNS 
and DECORATING 



NEW AND REVISED EDITION 
PRICE $2.00 POSTPAID 



Published by 

W. A. THOMPSON 

Pontiac, Mich., U. S. A. 



COPYRIGHT, 1905 

BY 
W. A. THOMPSON 



NEW AND REVISED EDITION 

COPYRIGHT, 1915 

BY W. A. THOMPSON 



bO 






r.0 
OCT 15 1915 Cy 



CV 



C. E. BISHOP 



PRINTtNO CO. 



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'CU414032 



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PREFACE 

This book is especially intended for the show card 
writer and student in rapid and ornamental designs. 

From a practical standpoint I have endeavored to 
make it as plain and comprehensive as possible. The ex- 
ercises are so arranged that the learner may encounter but 
one difficulty at a time, and advance from simple outlines 
to more artistic designs in such a manner that will fully 
exercise the ability of the learner without discouraging 
him. 

The instruction in this book teaches one thing at a 
time and each part in the order of simplicity — teaching 
elements at first instead of a finished flower or complex 
scroll. It teaches form before movement of the brush, 
and the simpler movement of the brush or pencil before 
the complex. The same principal runs through the for- 
mation of different flowers and finished designs. This 
method lets in a little light to the student, instead of con- 
fusion in trying to decipher the form and just what part 
to begin with. A thorough drill in the elements as pro- 
vided in the different sections of this book is the first step 
toward perfection in flower painting and designing. 

Rapid Flower Painting and scroll work as given in 
this new book has many recommendations, it is easy 
(easier than ordinary lettering) and is done with com- 
paratively little labor, and yet it affords scope for the ex- 
ercise of artistic skill of high order. 

W. A. THOMPSON 



Pontiac, Mich. 
1915. 



CONTENTS 

PAGE 

DAISIES— 

Diagrams for easy sketching, position, groups, brush stroke 

exercises, etc 6-13 

PANSIES— 

Drawing in outHne, groups, brush stroke construction of 

flowers, etc 14-19 

WILD ROSE— 

Diagrams for sketching, pencil and brush exercises, etc 20-29 

EASTER LILIES— 

Easy method for outlining, brush stroke exercises, etc 30-37 

VIOLETS— 

Outlines, groups, pencil and brush exercises 38-43 

HOLLY— 

Outline sketches, designs, etc 44-47 

Scroll Exercises, Designs, Etc 48-63 

Flower Sketches, Show Card Designs, Etc 64-89 

Scrolls and Backgrounds 90-97 

Ornamental Dashes, Corner Pieces, Borders, Etc 98-109 

Line Scrolls, Etc 110-131 



RAPID FLOWER PAINTING AND 
SCROLL DESIGNING 

It is generally believed that considerable talent is necessary to make any progress in flower 
painting and scroll designing. The only qualifications really necessary are a correct eye, a steady 
hand, and a moderate portion of common sense, the last being after all, perhaps the most useful, 
for the two former may be not only much improved but even acquired by careful practice. 

Flower and scroll work is more free and less mechanical than general lettering. From straight 
lines to curses is an easy step, and those who have a fair knowledge of form with freedom of move- 
ment in forming simple strokes with pencil and brush have about all that is needful to make a 
creditible showing in outlining and painting all flowers of a single leaf variety. 

Sketching flower outlines within circles and squares which have been divided by vertical and 
horizontal lines as shown in the following pages will enable all to form quite accurate flower out- 
lines, as the principal parts of each flower falls upon the points of division. In drawing straight and 
curved lines the use of ruler or compass should be avoided. The chief object to be obtained is 
freedom and command of the hand; and this is only to be accomplished by practicing without 
mechanical aids. Learn to train the eye to see and the hand to execute; the sight that insures cor- 
rect drawing is not that of the eye only, but of the mind. 

MATERIALS 

The materials required for scroll designing, flower outlining and painting io water colors are 
few and inexpensive. For free-hand drawing, outlining, etc., a good quality of lead pencils 
and erasers should be used. Russia Sable Flat brushes 1-16, 1-8, 3-16 and 1-4 inch wide are the best 
to use for accuracy in stroke and ease in Rapid Flower Painting. Use Water Color Paints only. 
Prepared Water Colors for flower painting are recommended for clean and neat work. 

For running scroll lines in color on medium size show cards, a No. 5 Red Sable Brush will 
give good results. Ball pointed pens are recommended for making small scroll designs and all 
narrow line work. An excellent ink for Ball Pointed pens can be made by merely thinning Water 
Color Paints with water only, to a free flowing liquid. 

PRACTICE PAPER 

Manilla wrapping paper of medium weight and smooth surface will give good results in out- 
lining with pencil, pen and brush, and can be had in any locality at a very reasonable price. Water 
color paints work nicely on this paper and will give justice to every stroke you make. Most any 
paper of a smooth and firm surface (not glazed) will answer for practice on pencil outlines and also 
for practice on flower painting in colors with brush and paints. 

CARD BOARD 

Common white and colored stock, 4, 6 and 8 ply is generally used for show card work. 
Almost any card board with a good surface (not glazed) will do. Local printers in most every 
locality carry a supply of card board in different weights suitable for show card work. 

The light best adapted for general drawing and painting comes from one window, the student 
being seated so that the light may come over the left shoulder. If there are other windows in the 
room, it is best that the light be obstructed to a certain degree. 

The brush should be held similar to the manner of holding a lead pencil in sketching, except 
that the brush should be held more upright. Freedom with the brush is essential. In practice use 
a free movement, try to get strength in your lines and curves, but at the same time strive for a light, 
easy action; avoid a jerky, spasmodic movement. The flower outlines, brush exercises, scroll 
designs, etc., in the following pages will be found valuable to all interested in rapid floral and scroll 
work for show card ornamentation. 



Daisy 



DIAGRAMS FOR EASY SKETCHING 

For show card embellishments, the Daisy flower is 
one of the best varieties most suitable for rapid work as 
they can be painted in natural colors by a few simple 
brush strokes. 

In beginning, for an easy method in drawing or out- 
lining this flower with a lead pencil, first make a circle 
as shown in the first dotted outline of the accompanying 
illustration. Place a small circle in the center, then tick 
off the relative sizes of the petals on its circumference 
and proceed with each part as indicated in the third 
circle outline. 

The fourth drawing shows the flower in full out- 
line. By the aid of a circle outline as a guide, the 
student will find no difficulty in drawing the petals true 
and well balanced in any size desired. For inexpensive 
drawing or practice paper, use a good grade of Manilla 
wrapping paper. White "Egg Shell" paper is excellent 
for lead pencil outlining practice work. Egg shell paper 
can be had at most any Job Printing office at about the 
same cost of ordinary white paper stock. 

The object of these elementary exercises is to give 
you an easy method in forming the different parts, and 
to cultivate neatness and accuracy of the eye and hand. 
Practice on these outlines until you can do the work 
quickly and accurately. When you can outline the 
flower fairly well in different positions, you will then 
be able to make rapid progress in painting the flowers in 
natural colors with a brush. 




Daisy 



The appearance or position of this flower can be 
greatly changed by merely drawing the middle portion 
above or below the center and then running the petals 
to the outside circle outline. 

An endless variety of positions can be had in shift- 
ing the center portion as indicated by the accompanying 
outlines to the right. 




Learn to see, then to do. 
prove profitable. 



Earnest effort will soon 





Daisy 




By the use of an oval or ellipse outline instead of a 
full circle guide outline an extended variety of positions 
of this flower may be outlined with ease. An ellipse 
outline placed in different positions coupled with shift- 
ing the center portion will enable one to form the 
flowers to fall or droop in any direction desired. 

Simplicity is one of the first principles in this line 
of work. 







Daisy 



The illustrations to the right will lend a suggestion 
for assembling two or more flowers in compact form. 

When guide lines are drawn correctly in the first 
place as suggested by the dotted outlines, the subject is 
easily comprehended, and it becomes nearly impossible 
to make a mistake in the arrangement of groups. 

Notice every detail in the construction of each 
flower such as position, and form of each part. 






10 



Daisy 



LEAVES 

Practice on outlining leaves and buds will be found 
an advantage, as being familiar with the form of leaves 
in outline will greatly help one in the use of brush and 
paint. 

You should spend at least one hour daily in outlin- 
ing single flowers and groups in different positions. 
Take frequent reviews in exercise drills whenever 
possible. 

The lower group exercises will not be difficult if 
you have been faithful in practice on the first outlines. 




Daisy 



11 



BRUSH STROKE EXERCISES 

Leaves and petals can be formed quite accurately by 
the brush stroke method and the accompanying exer- 
cises will give a good idea for rapid work. 

Note how the brush strokes are combined in mak- 
ing leaves as suggested in illustration to the right. The 
first stroke is one sweep full length as shown by stroke 
number one. The second and third strokes are run as 
indicated. Leaves in all natural positions can be made 
in this way very rapidly. 

The petals as shown in the white exercise strokes 
may also be made rapidly and very accurate. The two 
downward strokes when formed close together will 
produce upper and lower petals correct in form without 
any additional retouching. In painting a complete daisy 
flower, the card may be turned in easy position as you 
form the petals. 

Suggestions for natural colors. White Daisy — Petals, 
pure white; center, yellow. Leaves, medium green. 
Stems, dull green. 

When painting this flower in colors on colored 
cardboard the white petals should be painted first, then 
the yellow center as shown in lower part of illustration 
to the right. 

Keep the brush fairly well filled with paint. Dip 
paint often, but sparingly; this is better than taking too 
much paint at one time, and will assist you in painting 
the petals clear and distinct by two strokes of the brush. 

Use Russia Sable flat brushes for flower painting 
and a good grade of water colors paints, — see page 132. 




12 



Daisy 





^%m 



- V 



Suggestions for Show Card Designs. 



Daisy 



13 




For further study on show card designs with Daisy flower outlines, see pages 64 to 70. 



14 



Pansy 



OUTLINE SKETCHING 

For an easy method to outline a pansy flower 
with a lead pencil first draw a square, then run two 
center lines vertical and horizontal as shown in first 
illustration. Add the small strokes shown in the 
center of second square and run oval lines downward 
for lower petal and connect same as shown in third 
square. 

Run a horizontal line in the center of upper half 
of square as indicated in third outline and you now 
have a guide to sketch the upper petals of the pansy 
quite accurately. Run outline for second petal up- 
ward and to the left and downward as shown in the 
fourth square. The third petal outline is run upward 
to the right and downward as indicated in the fifth 
square. 



C^ 






Pansy 



15 



Begin outline for fourth petal at top of third 
petal and finish with outline of top petal to the right 
as shown in illustration. 

The different stages of treatment of flower 
sketches in the three lower squares lend a suggestion 
for finishing the center of the flower. 

In outlining try to improve the form each time 
you practice. Do not be satisfied with your previous 
attempts, but keep on improving. 

With a little experience and careful study you 
will find that you will be able to make true and 
accurate pansy sketches without the aid of guide 
lines or measurements. Outline guides are valuable 
for beginning, but not necessary when a fair know- 
ledge of form and construction has been established. 




16 



Pansy 



Pansy flow^ers in outline showing different 
positions may be drawn in good form by using a 
tilted square guide outline with dotted sections as 
suggested in diagrams to the right. 

Practice one exercise at a time and never pass to 
another outline until you see some improvement. Do 
one thing at a time and do that well as possible. 




Pansy 



17 



LEAVES 

Make the center line or midrie an easy curve, 
and run outline of leaves and buds as suggested in 
illustration to the right. 

Practice on outlines of single flowers and groups 
in different sizes until you become acquainted with 
the construction and form of each flower in various 
positions. 

It is important that you should study and practice 
on outlines and form of each flower until you can 
carry its form in your mind's eye at all times, even 
though it is not sketched on paper or cardboard. In 
this way you will soon be in a good position to paint 
any flower desired in color with the brush without 
any tracing or outline, except in some cases merely 
placing a dot showing the location desired for each 
flower on a design about to be finished. Russia 
sable brushes of the smaller sizes are the best to use 
for flower painting. See page 132. 




18 



Pansy 




^ 





In drawing pansies in outline with a lead pencil, we begin with the lower petal as shown in page 14 Paint- 
ing pansies in natural colors with a brush we begin with top petal to the right and work downward as shown 
in above illustrations. The outlines to the left show the brush strokes in the make up of the flower, and the petals 
to the right show the order in which they are finished. For painting, use Russia sable flat brushes 1/16, % 3/16 
inch wide and begin at top as indicated and work downward. The top petal should be a light purple tint which 
IS made by using white paint with a touch of purple. The second, third and fourth petals should be either a 
stronger or lighter color to\yard purple shade and the lower petal of a light tint. Finish center neatly in purple 
with a touch of red and white. There is no end to combinations of color, the main thing is to bring uot neat con- 
trast. Various tints of yellow, white, and purple can be used to good advantage in painting the petals of pansies 



Pansy 



19 





SUGGESTION FOR SHOW CARD DESIGNS. 

Practice on flower outlines in different sizes until you become acquainted with the construction and form of 
each flower in various positions. Paint in each flower outline in colors with a brush and finally you will be able 
to paint the flowers complete without using the outlines for a guide. 

Suggestions for natural colors, Pansy Flower, colors varied. Petals, purple tint, dark red, white, purple and 
yellow. Leaves, two shades of green — light and dark. Center, touch of purple, yellow, white and red. 

For further study on show card designs with Pansy flower outlines, see pages 71 to 81. 



20 



Wild Rose 



»• -^ • '« 



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..♦•t • 



WILD ROSE 

— Pencil outline sketches — 

In beginning, first draw a light line circle for a 
guide same size as shown by the dotted outline to 
the right. Draw a small circle in center and tick off 
circle outline in five equal spaces as suggested in 
second circle outline. The small arrows show the 
position or indicate the outside center of each petal. 

In sketching the first petal, begin at small circle 
and run line to the left upward to dotted outline 
with slight curve and downward to small circle in 
center as shown in the third dotted outline. Begin 
upward line of second petal from line of first petal 
and run with slight curve to dotted circle, then 
downward and around to small circle in center. The 
third petal is the same as the second petal, only in 
opposite position and in sketching this petal you 
simple run pencil line to the right and downward as 
indicated in fifth dotted outline sketch. 



O 



V 






Wild Rose 



21 



Outlining the fourth and fifth petals will be quite 
simple to understand as suggested by the two upper 
outline sketches to the right. 

Wild Rose flowers being simple in outline and 
having very distinct petals and well marked centers, 
are more desirable for rapid ornamentation than the 
double or treble triumphs of the florist. 

The three lower sketches to the right show how 
the center and petals of this flower may be treated 
when drawing in simple outline. 




22 



Wild Rose 





The student having some knowledge of outlin- 
ing flowers of this variety, may now begin to make 
a slight change in form of the flowers by merely 
placing the center portion of flower in an upper or 
lower position and running sketch line of petals to 
dotted outline as shown in accompaning illustrations 
to the right. The varied and graceful forms that can 
be quickly made in different combinations and the 
simplicity of this work will be found interesting to 
all energetic show card writers. 






Wild Rose 



23 



It will pay you to improve every opportunity to 
cultivate originality in flower painting and designing. 
These outlines are merely given as a basis to help 
and suggest the form and make up of different 
positions of single flowers which may be combined 
into quite elaborate designs. Study carefully every 
effect and strive to represent them in practice. 




24 



Wild Rose 




In flower groups each detail should be worked 
out in such a manner as to produce an artistic combi- 
nation. In beginning, more real benefit can be de- 
rived from studying simple outlines, than from the 
study of elaborate subjects. 

Try to arrange your flower designs so they will 
look attractive,— something that will look really diffi- 
cult, but yet simple to make. 

With a fair knowledge of outlining flowers with 
a lead pencil one will be in good position to make 
rapid progress with brush and paints in producing an 
endless variety of beautiful designs in natural colors. 





Wild Rose 



25 



Outlining leaves can be done quite easy. The 
accompaning sketches to the right will lend a sug- 
gestion for quick results. 

Considerable taste and originality may be ex- 
pressed in the selection and position of single flowers 
in groups, etc. Very ingenious designs may be 
created in floral arrangements for display signs and 
show cards. 




26 



Wild Rose 



The exercises to the right show how leaves may 
be made by the brush stroke method. Clean and 
accurate work in colors can be done in this way. 

Brush stroke work in forming leaves and also 
in flower painting with flat sable brushes of the 
smaller and medium sizes is a time saver. 





MIXING COLORS AND TINTS 

A contrast is effected by placing two colors that 
are opposite to each other in effect, and to harmoni/e 
them is knowing what color to use to tone them 
down. The following will give an idea for pro- 
ducing tints mostly used in flower painting: 

Yellow and Blue produces Green. 
Yellow and Red produces Orange. 
Red and Blue produces Purple. 
White and Red produces Pink. 
Blue and Red produces Violet. 
White and Yellow produces Cream. 

The above colors may be blended to make any 
required tint or shade. 



^^^ 




Wild Rose 



27 









r^.tJ'lJ'fhVZft ^c! ^a'^ Rose flower in colors, always begin with the upper petal and work down. The upper 
petal to the left second, and the upper petal to the right, third, then the two lower petals. The brush strokes 
o;de'r°o7paint1nferh petal.' '''' ''°" ^"^ ''"''''''" '^ ''"'' ^'^°'^^' ^"^^ '''' illustratfons to the right showlhl 

v.iir,w'°vvi?h'?^^ l"'" "^'"""^^ colors Wild Rose— Petals, three or four shades of light red. Center, light greenish 
yellow with touches of red and white. Leaves, two shades of green. Stems, medium green. greemsn 



28 



Wild Rose 





SUGGESTIONS FOR SHOW CARD DESIGNS. 

The best way is to mix your tints and try them on a separate piece of cardboard before be- 
ginnmg to pamt these flowers on a finished design. 



Wild Rose 



29 





For further study on show card designs with Wild Rose flower outlines, see pages 82 to 85. 



30 



Ea^er Lily 



EASTER LILY 

— easy method for outlining: — 

The familiar form of a circle serves as a jvuide 
outline in sketching this flower quite true in outline 
and well balanced in form. 

First outline circle with lines through center as 
shown in dotted outline to the right, then divide 
circle in equal spaces for a guide in locating the out- 
er tip of each petal. The Lily is formed with six 
petals. Begin outline of the first petal at cenler of 
circle by running center line of petal downward and 
add right and left curve lines as indicated in the 
third circle outline. The third and fourth petal out- 
lines added as shown in fourth dotted circle. 

Train the mind to clearly picture outlines, the 
eye to plainly see, the hand and muscles will soon 
get familiar and under easy control. 







•■■..I. 



■• .^ 




/ I 2 




Ea^er Lily 



31 




The tM'o upper dotted circle sketches show the 
fifth and sixth petal outlined in proper position. 

The sketches in the lower dotted outlines show 
how to finish the center of flower, petals, etc., when 
drawn in simple outline. 

It is excellent practice to make several pencil 
sketches and select the best one, or better still, make 
another one containing the good points of the first 
outlines. 





32 



Ea^er Lily 



Many different positions of the Lily flower can 
be easily outlined by using an oval outside sketch 
similar to the dotted outlines to the right. The oval 
outside sketch line may vary in size and shape but 
the petals can be drawn so that they will appear neat 
and uniform. 

Learn to see things as they appear to the eye. 
Care and perseverance are two qualities you need to 
possess. They are the keys that unlock the difficult 
places in ornamental work as well as all other things 
of life. 




Ea^er Lily 



33 



Contrast in form is the beauty of group flower 
painting. The easy and natural positions with one 
another make a pleasing effect when used in con- 
nection with a well balanced show card design. 

The lower portion of the illustration to the right 
will give a good idea for outlining leaves, etc. 




34 



Ea^er Lily 



The brush stroke exercises to the right show 
how the leaves in different positions can be made 
quite rapidly. Two shades of green paint will pro- 
duce a very neat effect in forming the leaves. 

To be successful in rapid flower painting, every 
stroke of the brush must be directed to a definate 
purpose, otherwise the hand and movement of stroke 
will not produce the desired effect. Practice on any 
one stroke or component part of flowers should be 
repeated with care and accuracy. Each effort should 
be subjected to criticism and an intelligent elfort 
made for improvement in succeeding practice. 




Ea^er Lily 



35 









The above illustrations show a simple method for painting the Lily flower. Begin at top and finish each 
petal as indicated. Keep your brush well filled with paint. The paint should be rather thick but free flowing so 
as to cover well and form each petal clear and distinct without showing broken edges. The chief secret for be- 
coming proficient in Flower Painting is to closely critize your own work and strive to improve all weak points. 
Always keep on the lookout for improvement. Close observation will help you wonderfully. 

Paint the petals of the Lily pure white. Center stems, light green and yellow. Leaves and stem, two or 
three shades of green. 



36 



Ea^er Lily 





Flower and show card outlines. 



Easier Lily 



37 





For suggestions on arrangement Df the Lily flower and various designs, see pages 86 to 89. 



38 



Violet 




The exercises to the right show an easy method 
for outlining Violet flowers. In pencil outlining aim 
to sketch the petals rather irregular within circle 
guide outline. Work from center and outward. 






Violet 



39 




Practice on outlining violets in different posi- 
tions. Raising or lowering center point in circle 
outline guide will enable one to sketch this flower 
so as to droop in any direction desired. 





40 



Violet 



In sketching leaves first run center line, then 
run outline of leaf as indicated. 

Practice carufully on single flower outlines, buds 
and blossoms, then combine them in groups. Violet 
flower designs can be made very compact and when 
painted in colors always present a neat and dainty 
appearance- 




Violet 



41 



■^ 





















o.,n h^Si .1 ^1 flowers, bej^nn wilh upper petals as shown in above exercises. Each petal 
wm I.^tf nn«?P^^^^^' ^'''' ^"""'^ '.''■"^^^ ^^ indicated. White paint with the addition of purple 
^vllI enable one to produce a great variety of tints for painting violets in any depth of color desired 

nnfrS'T' ^""^ "'^7^ ' ^'''"'"'= ^^'"l^' *^^^P P"^P>^ '^'^'^ t'°»« »«^^'^^d white; CenterT touSes of whUe 
and red; Leaves and Stems, two or three shades of green. 



42 



Violet 





Outline Suggestions for Show Card Designs 

In forming petals of different flowers by the brush stroke method, the aim should be to culti- 
vate freedom and accuracy of movement and get effects with the least work. 



Violet 



43 





Scroll and Flower Outline Suggestions 

Practice on arrangement of single flowers and groups of same in connection with a simple 
scroll or background design. 



44 



Holly 



In outlining leaves, run the center line or midrib 
an easy curve upward and run outside outlines down- 
ward from top of center line in easy short curves, 
then add veins from center line outward to points of 
leaf as indicated in illustration to the right. 




Holly 



45 



Practice on combining two or three leaves with 
stems and berries. With careful observation the 
most complicated series of branches and foliage be- 
comes simplified and their representation compara- 
tively easy, both in pencil outlining and also in 
colors with brush and paints. The leaves can be 
made rapidly by running center in one brush stroke 
and outside edge in slight curves showing points of 
leaf without lifting the brush. Leaves and stems, 
two or three shades of green. Berries, bright red. 




46 



Holly 





simple show card outlines with tinted background can be made very effective. Dry colors 
may be used for tinting. For neat and delicate background tints an Air Brush is the best to use. 



Holly 



47 





Show Card Suggestions 

For cutting out uniform background patterns, see page 96. 



48 



Scrolls Exercises and Designs 



SCROLLS 

The exercises given in this and following pages 
show a variety of scroll designs most frequently em- 
ployed in show card work. For proficiency in general 
scroll designing, all designs should be practiced free- 
hand with a lead pencil, ball pointed pen and also with 
a medium size lettering brush. When using the brush, 
be sure to have the paint in good working order, rather 
thick but free flowing so as to make full clean cut 
strokes without retracing. Nothing equals the first 
brush stroke for neat work. 

Red Sable round show card brushes will give good 
results in scroll outlining. 

The lines of scrolls should be free and graceful. 
There is a certain freedom and exactness in simple 
scroll work that will be interesting and valuable for an 
endless variety of new and elaborate designs for the 
ever improving taste of the public. 

The card writer interested in scroll work must 
learn to draw in a free and easy manner anything in a 
straight, horizontal, perpendicular and oblique lines, and 
afterwards graceful curves. Study and practice care- 
fully and you will find that the most elaborate scroll 
outlines are made up by a combination of a few simple 
strokes. 



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Scroll Exercises and Designs 



49 




Practice and study different varieties of scrolls. 
This will require careful practice, both in training the 
hand to perform and the eye to see. The different out- 
lines herewith will give an idea of the manner to pro- 
ceed with the construction of other scrolls that may 
suggest themselves. The following scroll outlines may 
be arranged for show cards of all sizes. 

Hold the brush in a natural way, yet firmly, aiming 
to be sure of the form you are about to make, but not 
over-anxious. It is possible to grip the brush too tight- 
ly, which is often the result of over-anxiety or nervous- 
ness. Be sure you have the correct idea of the position 
or manner of holding the brush. 

The attractive features of a card sign lies in its form 
and facial appearance, the composition being the con- 
necting link between it and the goods, which always 
brings a quick decision upon first impressions. 




50 



Scroll Exercises and Designs 








In brush scroll work the student should assume an easy, natural position at the table or desk 
with the arms in such position as to get the best use in freehand outlines. For small and compact 
scroll designs use a ball pointed pen and a free flowing ink instead of a brush. Prepared water 
colors work fine in all pen work when thinned with water only. 



Scroll Exercises and Designs 



51 







The line strokes in center of each design will lend a suggestion lor making each outline com- 
plete. In outlining, always keep your mind on the work in hand. 



52 



Scroll Exercises and Designs 






Practice on the exercises before beginning to make a scroll outline. Line stroke exercises give 
freedom of movement and this coupled with close observation as to form and combining the differ- 
ent strokes will help you wonderfully in all scroll designs. 



Scroll Exercises and Designs 



53 






u^^if° ^^^ ^'°*^ *^^* ^^"' movement is cramped and laborious in making scroll designs, stop 
right where you are, and practice vigorously on the preliminary exercises. It will pay you well to 
do this; try it. 



54 



Scroll Exercises and Desig:ns 





In all styles of scroll and ornamental work the learner must use a free movement, plenty of it, 
and put plenty of force and life into it. If you allow the hand to rest heavily, it will retard the 
movement and the result will be plainly visible in your work. 



Scroll Exercises and Designs 



55 




i'«^;-t.T->i- /"i-.*. - -r- I-:.*.." V V S "*^' -/ . .". >-<v 







i'i^^fH 



Outside of ornamental design, to say what you want to say in a pleasing, yet short way, is one 
of the features that you want to always keep in mind. 



56 



Scroll Exercises and Designs 











When the composition or ornamentation of the show card is in keeping with the goods and 
season the results are sure to be good. 



Scroll Exercises and Designs 



57 





Remember that it is not always a question of how much you do, but how well, and that there 
is but one way to achieve success, and that is by hard, conscientious work. It is necessary, and 
very important to study carefully the make-up of the different designs if you would be successful in 
this line of work. 



58 



Scroll Exercises and Designs 











L 




White cards may be made very neat with a simple scroll and background of same tinted with 
dry color before lettering. To do this, simply take a little piece of plush or something similar and 
dip the same in dry color (any desired shade) then rub on center of card and extend outward in a 
circular motion. Scroll designs filled in this way will produce results that seem wonderful to one 
unaccustomed to this class of work. The same method of tinting may be used outside of scroll 
design, leaving the center white for lettering. 



Scroll Exercises and Designs 



59 






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In scroll work most all beginners naturally select strong colors, but strong colors mis applied 
usually result in producing a weak effect. A great deal also depends on the shape of the letters to 
produce strength in the Show Card. A narrow bodied letter on a heavy scrolled background al- 
ways gives a weak appearance, the scrolling in this case invariably detracts from the value of the 
lettering Another error is made by putting scrolled letters on a scrolled ground when plain letter- 
ing should be used. Always aim for contrast in lettering and scrolls both in styles and delicate tints. 



60 



Scroll Exercises and Designs 





Avoid using colors of the same depth of tone side by side. It usually gives the work a muddy 
or hazy appearance. Care must be taken in any kind of plain and ornamental work in order that it 
may be uniform and harmonious. 



Scroll Exercises and Designs 



61 








The use of metallics or flitters in scroll designs on colored cardboard with white lettering will 
always produce a rich and striking effect. Gum Arabic Mucilage with a few drops of glycerine 
added will be found an excellent adhesive for Metallic and Flitter work. This may be used the 
same as paint in outlining designs, the flitters or metallics to be poured on before dry. It is quick 
in drying and will hold metallics, flitters, bronze or diamond dust securely. 



62 



Scroll Exercises and Designs 








When you can do fairly well in outlining any scroll design, close your eyes and try to recall its 
appearance. If you really know how it looks you will have no difficulty in making it neat and 
well balanced. 



Scroll Exercises and Designs 



63 





Successful show card designing is by no means "a gift." While the show card writer must 
have the artistic taste developed to a high degree, he must supplement his knowledge of art with 
thoughtful preparation and close attention to business, or he may not hope to succeed. 



64 



Flower Sketches and Show Card Designs 





Background designs cut with a pair of shears from colored paper, or wall paper in small and 
compact patterns can be used to good advantage when pasted and nicely centered on a show card 
of different color. Pretty groups of flowers can be painted on cards of this kind that will attract 
attention wherever shown. 



Flower Sketches and Show Card Designs 



65 





An endless variety of background designs in all colors can be quickly put on show cards with 
an Air Brush. Water-proof Air Brush colors is the best to use when flowers are to be painted in 
connection with the design. On water-proof air brush color designs, all flowers in any color can 
be painted to lap over on the air brush color without bluring. 



66 



Flower Sketches and Show Card Designs 





The above flower outlines and those on following pages are merely given as a suggestion as to 
form and arrangement. Flowers painted in color add considerable life to all show card designs. 



Flower Sketches and Show Card Designs 



67 






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Flowers of the Daisy variety can be painted quickly by the brush stroke method as shown on 
page 11. Russia Sable flat brushes — see page 132— are the best to use for rapid, clean, and accurate 
flower painting. 



68 



Flower Sketches and Show Card Desig^ns 





For successful results in show card work, it is not necessary for the card writer to follow 
strictly in the footsteps of others, he can get an idea here, a design or part of a design there, a color 
effect somewhere else; and, by a little ingenuity combine them into a whole. 



Flower Sketches and Show Card Designs 



69 





Paints should be in good working order so as to insure smooth and full brush strokes both in 
flower painting and running scroll lines without retouching. 



70 



Flower Sketches and Show Card Designs 



<^W* 




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In show card publicity "something different" will always increase business and it is well to 
keep in mind that the object of card signs is to attract the attention of the customer or passer-by. 



Flower Sketches and Show Card Designs 



71 














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Beginners should strive for judicious display and keep in mind the principles of simplicity and 
harmony. 



72 



Flower Sketches and Show Card Designs 







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Suggestions for background outline with flowers. 



Flower Sketches and Show Card Designs 



73 





Scroll and Flower outline suggestions. 



74 



Flower Sketches and Show Card Designs 





Suggestions for background outline with flowers. 



Flower Sketches and Show Card Designs 



75 





Background and flower outline suggestions. 



76 



Flower Sketches and Show Card Designs 







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Scroll and Flower outline suggestions. 



Flower Sketches and Show Card Designs 



77 




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Scroll and Flower outline suggestions. 



78 



Flower Sketches and Show Card Designs 





Scroll and Flower outline suggestions. 



Flower Sketches and Show Card Designs 



79 




The close observing card writer will get many valuable suggestions by studying nature for de- 
signs and colors and discover unending combinations of beauty and delicate touches of detail which 
give artistic effects. For outline and construction of Pansy flower, see pages 14 to 18. 



80 



Flower Sketches and Show Card Designs 







Painting pansies afford an endless variety of color effects for those interested in producing 
dainty show card designs on short notice. 



Flower Sketches and Show Card Designs 



81 




Practice is the key note for success in flower painting and show card designing. An important 
point in rapid flower painting is to study carefully what may be to an advantage left undone, — the 
main thing is to merely suggest a neat form and color by the fewest brush strokes. 



82 



Flower Sketches and Show Card Designs 





Background and flower outlines. 



Flower Sketches and Show Card Designs 



83 




For an easy method for cutting out uniform background outlines, see page 96, 



84 



Flower Sketches and Show Card Designs 





Scroll and Flower suggestions. 



Flower Sketches and Show Card Designs 



85 




For outlining and painting Wild Rose flowers, see pages 20 to 27. 



86 



Flower Sketches and Show Card Designs 





Flower and scroll suggestions. 



Flower Sketches and Show Card Designs 



87 




Show card suggestion. 



Flower Sketches and Show Card Designs 




Show card suggestion. 



Flower Sketches and Show Card Designs 



89 




For outlining and painting Lily flowers, see pages 30 to 35. 



90 



Air Brush Effect 



Shaded Background and Scroll Outline 

To produce a shaded background on show cards, 
etc., similar to the designs in the illustration to the 
right, first get a sheet of straw board the same size as 
the show card about to be used. Cut the straw board 
in a simple outline or pattern design and attach the same 
to the show card. Then, use a show card spray outfit 
to spray color of any desired shade around the pattern. 
The space or surface protected by the pattern remains 
white, or color of cardboard, while the background or 
outside of the pattern is shaded by the spray of color. 

Very rapid and ingenious combinations can be pro- 
duced in this way, both in delicate flat tints and also 
when finished wiih a scroll outline as shown by the 
second card of each design in accompanying illustration. 
The scroll line should be run with a lettering pencil 
when the background tint is dry. 

The following cards also show other suggestions of 
design and finish. 




Air Brush Effect 



91 



Hundreds of new and novel designs in all 
colors can be made in this way from common 
cardboard in all sizes at a fraction above the first 
cost of cardboard. 

A complete assortment of distinct designs can 
be made in this way by any show card writer, 
which will enable one to keep a full supply on 
hand, ready for lettering on a moment's notice. 
Very pretty and inexpensive panel cards can be 
made similar to those given in illustrations to the 
right. These are simple to make and very at- 
tractive when the background is in delicate tint 
and the scroll outline in black or other colors in 
harmony with the color of background. 

For the scroll outline use a No. 7 or 9 Red 
Sable show card brush and a good quality of show 
card paint. 

The use of flitters in gold, silver, crimson 
and green on scroll outline with adhesive ink al- 
ways produces a very rich and striking effect 
when neatly done. 




92 



Air Brush Effect 



The panel designs given herewith show a still 
further variety to that of preceding pages which 
give a good idea for neat and easy designs to be- 
gin with. 

Almost any simple design cut in straw board 
pattern will produce a neat effect and the appear- 
ance changed wonderfully by a scroll or border 
outline in strong color. A good method in this 
work is to outline your design complete on the 
straw board pattern before cutting it out. In this 
way you will preserve the original sketch and also 
use the same for spraying the background color. 
There is no end to the variety of this work and 
the show card writer who uses a little ingenuity 
in this line will be above the competition of any 
one in his locality who is not so progressive. 




Air Brush Effect 



93 



The designs given in this illustration show a variety 
of half-sheet cards (14x22 inches). These with the pre- 
ceding outlines will enable the beginner to soon learn 
to execute original designs, limited only by artistic 
ability and practical skill. By this method, scroll work 
and designing becomes very simple because there is a 
basis to work from on each individual design after the 
first step is taken. For patterns always use straw board 
when possible, as this will be more porous than ordi- 
nary card board and will absorb the superfluous colors 
or spray almost equal to blotting paper, consequently 
the colors will not run or blot the show cards when 
using the same pattern several times. 

When through with each pattern or design, lay 
them aM'ay carefully and place a small board or card 
over them with sufficient weight to keep them flat and 
in good order for future use. 

Colored Card Board — In spraying backgrounds on 
colored card board, remember that the color solution 
from the spray outfit is transparent; consequently, red 
sprayed on blue card board will have a pronounced 
purple shade, while blue on yellow card board will 
show green, and so on, the underground color always 
being prominent in modifying the shade or color effect 
when transparent paint or inks are used. 

All colors in spraying solution will have a fine 
effect when used on white card board and produce 
hundreds of pretty shades in backgrounds and delicate 
tints. For spray outfit see page 141. 




94 



Scroll Outlines 



^Q.S, \ 



Illustrations Nos, 5, 6, 7 and 8 give a suggestion of 
a variety of scroll designs that can be made by any one 
in a very few minutes. The paper folding method for 
accurate designs on both sides will be found interesting 
and valuable to all who wish to excel in catchy and in- 
expensive show cards. The outlines on this page are 
made by one fold of the paper. Each design when 
opened out will show the pattern in full size and give a 
true basis to finish the scroll by a few strokes of the 
brush. Designs of this nature can be quickly treated 
with several styles of finish in the way of tinted back- 
grounds by the use of a show card spray outfit to pro- 
duce delicate tints and other combinations of color. 
The outline of scroll when traced upon a card may be 
run with a lettering brush in color, or can be finished 
in gold flitters by using adhesive ink. The scroll out- 
line may also be made in relief with a raised lettering 
outfit, which will produce very rich and striking effects 
when the background of card is finished in a delicate 
spray of color. 

The scroll patterns, Nos. 9, 10, 11 and 12, following 
page, are made similar to those on this page; the only 
difference is, the following scroll patterns retain the 
same outlines both top and bottom of each design, and 
the ends also are uniform. This is done by folding the 
pattern paper twice, making the same one-quarter size 
of the full design. A very simple cut or scroll outline 
on paper folded one-quarter size will produce quite an 
elaborate and accurate design when unfolded. Scroll 
designs of every description made in this way can be 
preserved for future use by cutting out cardboard pat- 
terns of each design. In this way cardboard outlines 
will enable one to do quick work and they are also 
more serviceable than paper patterns. All scroll designs 
should be made so that lettering or composition of card 
will show out prominent. 




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Scroll Outlines 



95 








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96 



Border and Background Patterns 




For cutting out border designs and background patterns true and well balanced, first take a 
sheet of paper the same size of the card you are to use, fold this twice, making it one quarter size. 
Then cut the same with a pair of shears along the dotted outline as indicated which will produce a 
full size pattern as shown when the paper is unfolded. Note the different designs, some are made 
by simply folding the paper once-as shown in the third group of above illustration. 



Scroll Outlines 



97 




For making scroll outlines true and well balanced, the above method will be found interesting. 
In beginning, simply take a sheet of paper the size of card to be used, fold it once, making it one- 
half size, as indicated by the black portion of the first outline above. Then outline scroll on paper 
pattern with lead pencil as indicated. Carbon paper placed in fold of pattern paper will produce 
the full outline when unfolded. Paper folded twice, making it one-quarter size, may also be used 
to good advantage in special scroll outlining. 




A very simple scroll outline on pattern 
elaborate and accurate design when unfolded, 
this way and preserved for future use. 



paper folded one-hall size will produce quite an 
Scroll designs of every description can be made in 



98 



Ornamental Dashes 






The amount or form of composition on a 
show card will suggest what is best fitted to pro- 
duce a neat finish. A card with lettering of uni- 
form size and considerable space outside of the 
lettering will present a neat and tidy appearance 
without margin lines or ornamental dashes. 
When the lettering varies in size and spaces be- 
tween the lines are not uniform, the use of orna- 
mentation, scroll or borders will make a card 
appear more compact and add to its appearance. 



=>^ 



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End Pieces, Etc. 



99 



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Corner Pieces, Etc. 














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Corner Pieces 











Coiner Pieces 



103 








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104 



Borders 




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Borders 



109 





Posters for Retailers, any kind for any business, 
illustrated, can be had from lithographing companies at 
a small cost with blank space for filling in name of firm, 
etc. This affords an excellent opportunity for the show 
card writer to make considerable ready cash by doing 
the extra lettering and supplying merchants in their 
locality with something new and novel in advertising. 
Use black, ground in Japan, for lettering when these are 
intended for outside posting. A few samples of this 
class of work will create a demand wherever shown. 






no 



Line Scrolls 





Scroll lines should be made with a free movement. The above exercise copies and those of 
following pages will be found interesting both for simplicity of make up and neat effect when 
properly used. Study and practice on simple forms and combinations of same will produce excel- 
lent results in making a fine variety of neat show card embellishments. 



Line Scrolls 111 







112 



Line Scrolls 








Line Scrolls 



113 





114 



Line Scrolls 











Line Scrolls 



115 





For neat and compact work of this kind on small cards, the beginner will find it best to use 
a number 3 Soennecken pen or any an ordinary ball pointed writing pen. Ball pointed pens work 
smooth and free on any cardboard surface. 



116 



Line Scrolls 









^ 








Line Scrolls 



117 








118 



Line Scrolls 











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Line Scrolls 



119 








120 



Line Scrolls 






Line Scrolls 



121 




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122 



Line Scrolls 










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Line Scrolls 



123 





124 



Line Scrolls 






Line Scrolls 



125 








126 



Line Scrolls 








Line Scrolls 



127 





128 



Line Scrolls 





Line Scrolls 



129 





In most show cards one or two ornamental figures will be sufficient on one card for well 
balanced work. The mistake of crowding in too many ornamental dashes or curves is a common 
one with the beginner, and should be avoided. 



130 



Line Scroll Cards 





Show card design outlines. 



Line Scroll Cards 



131 





Scroll Hue and border suggestions. 



Something New—Extra Fine Russia Sable Flat Brushes 

DESIGNED AND MADE EXPRESSLY FOR SHOW CARD LETTERING AND 

POSTER WORK 

Just the right thickness of hair in each brush to produce best results in rapid flower 

painting. 

With this brush an endless 
variety of different styles of 
alphabets can be made very 
rapidly without extra effort, 
as the letters are formed with 
ease by natural strokes of 
the brush. Each brush stroke 
forms a stem or portion of 
the letter with a single op- 
eration and finished as you 
go, — a feature that is invalu- 
able for rapid, clean-cut, free 
^^^^ hand lettering. 

Width 1-16 

Each 15 

Full set, seven sizes, ordered at one tirrie, for $1.95, postpaid. 

FLOWER PAINTING. 

The smaller sizes of the above brushes are best to use for Flower Paint- 
ing. — 1/16, Ys, 3/16 and J4 inch. These four sizes cost 60 cents, postpaid. 
For a good outfit for rapid flower painting it is better to have two set of 
the four sizes in order to save time when using a variety of colors. 

These brushes will enable one to do good work in all styles of flower 
painting in less time than is generally required with other styles of brushes. 
They are made to produce the very best results. Each brush stroke in the 
make up of different flowers in colors can be made accurately with ease. 
Success in rapid flower painting depends largely upon the style of brushes 
used. 



1-8 


3-16 


1-4 


3-8 


1-2 


5-8 


20 


.25 


.30 


.35 


.40 


.50 



WATER COLORS FOR 
FLOWER PAINTING. 

Water Colors are the best to 
use. The THOMPSON WAT- 
ER COLORS are ready for im- 
mediate use with the addition 
of water for thinning. Put up 
in paste form in screw top jars. 
This paint has excellent cover- 
ing capacity and free working 
qualities. Put up in seven col- 
ors, — Red, Yellow, White, 
Green, Blue, Black and Purple. 
Price 25 cents per jar, prepaid. 




! THOMPSON WATER COLORS. 

PURPLE 

;For Rapid Flower Painting, Or.a 
mental Designing;, Etc. 

I PRICE 2S CENTS 

PREPARED BY I 

i W..A. THOMPSON 

iPONTIAC \ MICH 



V.^ 



Addrass W. A. Thompson, 16 E. Huron St., Pontlac, Mich., U. S. A. 



-132— 



PRACTICAL SHOW CARD LETTERING INSTRUCTION 

Practical instruction in show card letter- 
ing and designing means much more than 
the ordinary person imagines. Only when 
some idea is gained of its scope and thor- 
oughness can it be understood how it can 
accomplish all that is claimed for it. It 
produces expert show card writers in a few 
weeks or months, according to the time the 
student devotes to the work. It makes a 
clever designer and letterer out of any one 
of ordinary intelligence, by methods that 
are modern and up-to-date. It is sure and 
scientific. The lessons and extra practice 
copies are arranged for the best results in 
favor of the student, so that the learner can 
start in at once on the actual work. He is 
not filled up with theory. There is no long 
preliminary course to waste time. Real 
work begins as soon as the student receives 
the lessons and special copies for practice. 
Practical instruction according to the 
Thompson method means just what the 
words imply. Each stroke of the brush or 
pen stands out distinctly, and the method 
and plan of the expert can be followed out 
clearly. All work submitted by the student 
is criticised fully and returned promptly. 
There is no delay. The student's weak 
points are constantly kept before him. He 
is thus put upon the right road and guided 
carefully to the end. The result is another 
Show Card Writer, expert, competent, and 
money maker. 
The diUference between a theorist and a practical man is that the theorist seldom makes money. Learn show 

card writing in a practical school, where there is no doubt, no guess-work, but where the results are sure, certain 

and successful. 







Show Card 
Demand 



The demand for show cards is bound to in- 
crease from month to month, from year to 
year. Merchants are more than ever realizing 
what an actual business necessity an attractive 
window card is. That means that the amount 
of money being spent for show cards is con- 
stantly growing larger and every capable show 
card writer is assured of a quick market for 
his work at a good price. 

That the show card is a genvtine business 
necessity is shown by the fact that all up-to- 
date stores everywhere make it a rule to have 
at least one show card in every window and 
a number throughout the interior of the store. 
Tlie cleverly worded show card draws the 
passer-by to the window; it shows him the 
goods, tells him the price, and in many cases 
makes a sale on the spot. 

The show card of pleasing design and letter- 
ing is a Silent Salesman of peculiar force. It 
buttonholes the spectator in front of the store, 
it shows him the article he wants, and points 
out its excellent features. It draws him into the 
store and makes him a customer. It fills its 
own special field, which the newspaper, bill- 
board, or other advertising cannot reach, and 
is therefore a business necessity for which 
there can be no substitute. 

The fact that the cards can be changed from 
day to day at a small expense a.lds tn iln-jr 
value in the eyes of the merchant. The demand 
for new cards is constant, and the show card 
writer is kept busy. 

As an inexpensive form of store publicity the 
show card is without a rival. It is always 
ready for daily or hourly requirements. 

As a money maker, the Show Card is a sure 
winner. The field is wide, the demand is con- 
H stant, and the pay is large. 



•gj^jgjajsjaiaiaMaiMaraMaMSiasisMsisMaisMMS^ 
I Advantages of Business 1 

Bringing Show Cards for I 

the Merchant ii 

m 

Clerks and other ambitious youn? men are ^ 
not the only ones who learn show card writing [HJ 
to advantage. IS 

Proprietors of small establishments and mer- ra 
chants who have no assistants find daily satis- Ej 
faction and profit in being able to turn out & 
their window cards in their spare time. S 

By making his own show cards the merchant Ej 
utilizes every spare moment of hi' tmie. Me 1|^ 
pavs more attention to his windows than he e 
otherwise would and takes pride in making S 
them attractive as possible. Tlie show cards, L, 
too, when cleverly done in harmonious colors, 
help to heighten the general pi«afi-.e effect. 

The business-bringing show card, the money- 
making show card, the trade-winning show 
card, are of the greatest benefit to the small 
merchant who cannot afford to advertise ex- 
tensively in other ways. The cost is but a 
trifle and they can be prepared in short order 
to meet any emergency or change in the run of 
trade. , ii i • 

The proprietor of a small store or other busi- 
ness who has not mastered this delightful and 
highly useful advertising art should wake up 
and "et in on the ground floor. He should 
join the vast army of progressive and up-to- 
date merchants already scattered throughout 
the country and take up the study of show 
card writing at once. 

Competition in trade grows keener every day 
and onlv the merchant who keeps in the front 
rank and uses every means to attract business 
can win out in the long run. _ 

Start the studv now and start right. 1 tie 
Tlfompson method of instruction is_ the cream 
of many years' experience in teaching and as- 
sures success from the beginning. Every ten 
minutes' work shows progress. 



—133— 



=1 ' ' 



Four Separate Courses of Instruction 

IN UP-TO-DATE SHOW CARD LETTERING AND DESIGNING 

OUR SYSTEM OF INSTRUCTION IS ENDORSED BY THE MOST EXPERT 

SHOW CARD WRITERS IN THE WORLD 



$3.00 COURSE "A" $3.00 

MARKING PEN SHOW CARD LETTERING INSTRUCTION 

Three Dollars pays for a complete course of instruction, by mail, in Marking Pen 
Lettering designed expressly for up-to-date show card work and general lettering. THINK 
OF IT. A simplified course of instruction (six complete lessons) containing solid, practical, 
common-sense instruction with high-class work now given to the public for the first time 
for only $3.00 — a course of lessons that will enable you to make an excellent variety of 
Show Cards and Price Tickets for any line of business, are fully illustrated in showing the 
make-up of different styles of Commercial Show Card Marking Pen Lettering in actual 
work by combining vertical, horizontal, oblique and curved lines. The instruction in this 
course is very thorough with practical pointers for economy in favor of the student in the 
use of materials and also in producing high class work. Finished card-sign layouts and 
practice copies accompany each style of alphabet. Students' work on each lesson corrected 
and returned postpaid during the course. 

The marking pen is a strong and perfect device for rapid and clean cut lettering and 
will enable one to acquire a substantial and easy method for making attractive show cards 
for all purposes. 

Cost of Course of Instruction, lettering pens, and inks as follows: 

Marking pen lettering instruction, COURSE "A" $3.00 

Marking Pens Nos. 0, 1, 2, 3 80 

Plain Pens Nos. 0, 1, for two-color work .40 

3 bottles of ink (large size), Red, Black, Grass Green .75 

$4.95 
COURSE "A" with pens, inks, and finished show card copies delivered in one lot — pre- 
paid — $4.95. 

This course of instruction with pens and inks is really worth $10.00 to anyone inter- 
ested in making show cards that draw attention and create business. 

Those who are supplied with pens and inks may enroll for COURSE "A" only, which 
will be forwarded prepaid for $3.00. All students have the privilege to send in specimen 
work for correction at any time. The same will have prompt attention and helpful sugges- 
tions for rapid advancement will be given to all students. 

$2,00 COURSE *'B" $2.00 

AUTOMATIC SHADING PEN LETTERING INSTRUCTION 

Two Dollars pays for a practical course of instruction by mail (four complete lessons) 
in Automatic Shading Pen Lettering. This course comprises a comprehensive system for 
using the Automatic Shading Pen. The unique two-color effects and shaded letters that 
can be rapidly produced at one stroke with this pen seem inysterious and incredible to those 
unacquainted with this style of lettering. The different alphabets are full and complete in 
colors, shaded in delicate tints- — capitals and small letters — also set of figures to each 
style, with practical instruction. Extra copy slips and show card designs for student's 
practice are furnished outside of the lessons and alphabets. The lessons also contain in- 
struction of an ornamental order in fancy colors, with illustrated corner pieces, borders, 
wheat head designs, flat tint backgrounds, with practical notes on how to do bronze, flitter 
and metallic work, etc. The complete course shows in a simple and positive manner what 
can be done by any one in forming combinations of colors and shades in a few minutes 
that cannot be duplicated in as many hours by the most successful sign painters. 

TERMS — $2.00 for instruction in Automatic Shading Pen Lettering — Course "B" — with 
alphabets, practice copies, etc. Necessary pens and inks required for Course "B": 

5 Shading Pens, Nos. 0, 2, 4, 5, 8 $1.05 

2 Plain Pens for background tints, Nos. 4 and 8 .45 

4 bottles ink (large size). Red, Green, Purple, Brown 1.00 

$2.50 
COURSE "B" with pens, inks and finished show card copies forwarded in one lot — pre- 
paid — for $4.50. 

—134— 



$2.00 COURSE "C $2.00 

SOENNECKEN PEN SHOW CARD LETTERING AND DESIGNING 

This course of instruction (four complete lessons) covers the ground fully in a fine variety of alphabets and 
figures for Cominercial Show Card work with Soennecken Pens. Soennecken Pen lettering will enable one to 
make an endless variety of small and dainty show cards and price tickets generally used by Jewelry Stores Foot- 
wear Dealers, Clothing and Men's Furnishings, etc., etc., also medium size show cards for all business purposes. 
The alphabets and exercises for students' practice are presented in a comprehensive way, so that the learner is 
not required to spend more than one-half the time that is generally expended to acquire the art 

Twenty-four finished show cards — assorted sizes — in different styles of lettering (Roman, Shaded Roman, Semi- 
Script, and Old English Text) are furnished as practice copies for the student, outside of the lessons and alphabets. 
The 24 finished cards alone, at an average price of 10 cents each, would amount to more than the cost of tuition 
fee in this course of instruction. 

TERMS: For instruction in COURSE "C," with show card practice copies $2.00 

Lettering Supplies that will make a good serviceable outfit for the beginner: 

One dozen Soennecken Pens (assorted sizes) 20 

Three Jars Soennecken Pen Lettering Ink, — Black, White and Yellow '.'..'.'. .75 

(Prepaid) .0.5 

COURSE "C," with pens, ink, and finished show card copies forwarded in one lot — prepaid — for $2.95. 

Soennecken 
Pens 

Assorted Sizes • 
20 CENTS PER 

DOZEN PREPAID 

Mail Orders Promptly 

Filled. 

These Pens can be 

used with any ordinary 

pen holder. 




I I I I I I 



>'i»Mi^'¥>-^sf ' -:g ?' 




rVETTERINsTNK 




Soennecken Pen Lettering Ink 

An ideal preparation for smooth and clear-cut Soen- 
necken Pen Lettering. Put up in seven colors, — sets up 
firm in lettering, will not rub, scale or crack, and will show 
full strength of color on any colored surface. 
Colors of Ink— RED, WHITE, BLACK, GREEN, YEL- 
LOW, BLUE and PURPLE, with directions on 
each jar. 

Price 25 Cents Per Jar, Prepaid 



PRICES ON SEPARATE COURSES 
Four Courses Combined — A, B, C, D— at One Enrollment for $10.00 

COURSE "A"— Marking Pen Lettering, 6 lessons $3.00 

COURSE "B"— Shading Pen Lettering, 4 lessons 2.00 

COURSE "C" — Soennecken Pen Lettering, 4 lessons 2.00 

COURSE "D"— Brush Lettering, 10 lessons 5.00 



$12.00 
SPECIAL OFFER 

Four courses of instruction — A, B, C, D, — in different styles of Show Card Lettering, con- 
taining in all 24 full and complete lessons, practice and sliow cards, for $10.00 NET, at one 
enrollment. 

COST OF LETTERING SUPPLIES 

Generally the expenses of lettering material depends upon the careful management of the student. Some re- 
quire extra supplies to that suggested in the different Courses A, B, C, D, while others do good work and justice 
to themselves without additional expense. 

The following lettering supplies listed for each Course will enable one to do a fine variety of neat business- 
bringing show cards for all business purposes. 

COURSE "A"— Marking pens, plain pens and inks $1-95 

COURSE "B" — Shading pens, plain pens and inks 2.50 

COURSE "C" — One dozen Soennecken pens, assorted, 3 jars of ink .9.5 

COURSE "D" — 4 Red Sable show card brushes and four jars of paint . 2.55 

EVERY STUDENT A SUCCESS. NOW IS THE TIME TO ENROLL 
Remit by Registered Letter, Post Office or Express Money Order. Personal or local checks, add 15 cents tor 
collection. 

Address, W. A. Thompson, 16 E. Huron St., Pontiao, Mich., U. S. A. 

—135— 



$5.00 



COURSE "D" 

UP-TO-DATE SHOW CARD BRUSH LETTERING 



$5.00 



A complete course of instruction in Commercial Show Card Brush Lettering and Designing for $5.00. In this 
course we teach uij-to-date Brush Lettering from the rudiments of a plain letter to a large variety of high-class 
show card work suitable for all business purposes. This consists of TEN practical and comprehensive lessons, fully 
illustrated, in the following alphabets: MODERN EGYPTIAN, SINGLE STROKE BLOCK, SHOW CARD 
ROMAN, ITALIC ROMAN, SHOW CARD BRUSH TEXT and OLD ENGLISH, together with practical in- 
struction on Scroll Exercises, Finished Designs and various styles of Show Card Embellishments. 
TERMS — $5.00 for Complete Course of Instruction in COURSE "D," 
Commercial Show Card Brush Lettering and Designing. 
Show Card Brushes and Paints that will enable one to do a fine variety of neat brush lettering for Cards, Price 
Tickets, etc. 

Red Sable Show Card Brushes, Nos. 5, 7, 9, 12 $1.50 

ELTREKA Show Card Paint (4 jars). Black, Red, White, Green 1.05 



$2.55 
COURSE "D," with brushes, paints and show card copies forwarded in one lot — prepaid — for $7.55 




Show Card Writer's 
Brush Oistfit 

Extra Fine Red Sable Show 
Card Brushes, Round. Made ex- 
pressly for Show Card Lettering. 
Nickel plated ferrules, short handles. 
Four special sizes — Nos. 5, 7, 9 and 
12. 

PRICE $1.50, POSTPAID. 

These brushes are sensitive in 
touch, elastic in stroke and give 
ready response in clean-cut letter- 
ing. When charged with paint they 
can be made to retain a fine point 
or brought to a chisel edge. The 
best Show Card Brushes that money- 
can buy. Separate brushes from this 
outfit at the following prices : 

No. 5 25c 

No. 7 35c 

No. 9 45c 

No. 12 60c 




Eureka Show Card Paint 

The Twentieth Century Lettering Med- 
ium, ground by machinery and ready for 
immediate use with the addition of water 
for thinning. Dries quick. Heavy body. 
Easy lettering. This paint is made ex- 
pressly for brush lettering, display signs, 
show cards, tickets, etc., and fully an- 
swers all the varied requirements — sets up 
firm in lettering, will not rub, scale or 
crack, and for cleanliness and ease of 
application cannot be excelled. The only 
Show Card Paint that will show up in 
full strength of color on any colored 
surface. The colors below may be 
blended to make any required shade. 
Seven colors. Put up in screw top jars. 

Prices: Red, 30 cents each. White, 
Blue, Green, Yellow, Purple, Black, 25 
cents each. These prices are net. Ship- 
ped by express, charges collect. 

Our best customers for EUREKA 
SHOW CARD PAINT are those who 
have formerly used other brands. A 
trial order will explain why. A small 
supply of paints forwarded by Parcels Post rate is generally the cheaper way. Each jar of 
paint weighs 20 ounces, and the Parcels Post rate is governed by distance. In remitting 
for postage on package you are perfectly safe in enclosing more than you think necessary, 
for we will prepay charges on packages and return to you any amount that is left over. 
When postage is not included with order for Show Card Paint, we ship same by express, 
collect. 

Address W. A. Thompson, 16 E. Huron St., Pontiac, Mich., U. S. A. 

—136— 



Practical Instruction Books on Show Card Lettering 

By W. A. THOMPSON 
MODERN SHOW CARD LETTERING, DESIGNS, ETC. 

EIGHTH EDITION NOW READY 



This book is a practical treatise on Up-to-date Pen and Brush Lettering, giving instruc- 
tions on many styles of lettering, position, movement, shading, spacing, designing and ar- 
rangement, with illustrations of large and small letters of each alphabet, together with a 

full analysis and diagram for making neat and 



r 




I 



^>^— 



prominent figures off-hand for price tickets, 
etc. Over 400 illustrations of finished show 
cards and price tickets are given in Marking 
Pen Lettering. Soennecken Pen Lettering, 
Automatic Pen Lettering and Up-to-date Brush 
Lettering outside of fifty-one page alphabet 
plates and lettering exercises of a large var- 
iety of standard show card designs, showing 
how to produce neat and fancy border and 
'6 ANt^'^J.Vr^t ' 1/ I scroll outlines, tinted backgrounds, etc. This 

jiX ' " S^ 1 book is far beyond anything ever published in 

iL^<^>^-~ »j3'g^X I this line. It contains solid, practical, common 

. - . — — " "—a* ■" ' ■ '■" ■'■■ ' ' ■ ■ "^ ■""> ■'■ * sense instruction — a book that is free from 

absurd theories and mystifying kinks, and con- 
tains 2000 Advertising Phrases for Card Signs, Posters, etc. Page size of book 6x9 inches. 
144 pages. The price of this book is but $1.00, delivered to your address. 
16,000 copies of this book have been sold to satisfied customers and the demand is increasing 
daily. 



**li4>W 4 \ftli 

( t t It l*t\Jl> 

\l>Xt )*)«S|\0 

§*StH \*^i *%. 

^ f H (_ w . " f • fj i> 
ANt^ - J .) r Ff3 




DRUGGISTS AND DISPENSERS PRACTICAL SHOW CARD 

INSTRUCTOR 



fwm 



DRUGGi^ 




The NEW and REVISED EDITION con- 
tains thirty-two additional pages to that of the 
former edition. 

This book contains a thorough, progressive 
course of instruction for making all styles of 
Show Cards required by the Up-to-date Drug- 
gist and Soda Fountain Dispenser. The alpha- 
bets and exercises in Pen and Brush Lettering 
are presented in an easy and attractive form 
of graded lessons, fully illustrated in every de- 
tail. 

The brush stroke alphabets — Single Stroke 
Block, Modern Egyptian, Show Card Roman, 
Semi-Script and Old English are a feature of 
unusual merit. Each brush stroke forms a 
stem or portion of the letter with a single 
operation and finished as you go — a feature 
that is invaluable for rapid, clean-cut, free-hand brush lettering. 

Over 300 reproductions of finished show cards and price tickets are given in the book 
outside of lettering exercises, instructions and alphabets. Never before has such a wealth 
of practical lettering instruction and original ideas been given in one book for home study 
and at a price within the reach of all. 

Page size of book 6x9 inches. 144 pages. Order now with remittance and get a copy 
of this new book by return mail. Price $1.00 postpaid. 

—137— 



S^itiiii 



-.,. x.~-..i.fc»;.JiJ>.i.A^- ^^ 



,M 





MARKING PENS. 
The Marking Pen makes a solid, plain stroke, full strength of color of ink used. This style of pen is a strong 
and perfect device for rapid and clean-cut lettering for Show Cards, Tickets, etc., Sample Show Card Lettering 
mailed free to all interested. 





SHADING PENS. 
Make a shaded mark of two colors at a single stroke of the pen, from one color of ink. 




PLAIN PENS. 

For marking Background Tints, Letter Shading, Scrolls, Etc. 

PRICE LIST FOR PENS— NEXT PAGE. 



PRICE LIST FOR AUTOMATIC PENS 

EITHER MARKING, SHADING OR PLAIN 
00 1-32 inch wide 20c each 

1-16 " " 20c each 

1 1-8 " " 20c each 

2 3-16 " " 20c each 

3 1-4 " " 20c each 

Mail orders promptly filled, postage prepaid. Cash must accompany orders. 

AUTOMATIC SHADING INKS FOR MARKING AND SHADING PENS 



4 


3-8 inch wide 


20c each 


5 


1-2 " " 


20c each 


6 


3-4 " " 


25c each 


8 


7-8 " " 


25c each 



In the production 
of this ink no pains 
or expense has been 
spared to insure that 
the colors a r « the 
most brilliant and 
durable manufactur- 
ed. This ink is pre- 
pared by a special 
process, thoroughly 
filtered, and every 
drop is pure. It is 
of the proper con- 
sistency to letter 
smooth and free and 
will dry hard with 
gloss. 

Colors — Black, 
Red, Blue, Dark 
Green, Grass Green, 
Brown, Light Brown, 
Rose, Orange, Pur- 
ple, Yellow. 

1 Oz. Bottle. 
Prepaid 15c 

2 Oz. Bottle, 
Prepaid 25c 

Adhesive Ink is used quite extensively for gold, silver, metallic and diamond dust orna- 
mentation on special show cards, posters, picture and souvenir postal cards. It's the best 
made for great adhesive qualities and clean-cut work with either pen or brush. 

Price 25c per Bottle, Prepaid. 

THOMPSON'S INK 
POWDER 

For making Pen Lettering 
Ink, for ticket writing, show 
card work, and ornamental 
lettering of all kinds. 

Assorted colors — Black, 
Blue, Red, Brown, Purple, 
Yellow, Green and Rose. 
Full directions for making 
shading ink. Choice of colors, 
10c per package, postpaid. 

Card Writers can save 
money by using this Ink 
Powder for general pen let- 
terin-g. 





FLITTERS 



For sparkling eflfects on Show Cards, Banners, etc. Gold, Silver, Crmison, Brilliant 

Green. Lavender, Orange and Lemon. Choice of colors, 15 cents per package, postpaid. 

BRONZES, any color desired, 15 cents per package, postpaid. 
DIAMOND DUST, 15 ceaits per package, postpaid. 

—139— 



Letter Patterns for Up-to-Date "Sign Lettering" 

Store Fronts, Awnings, Board Signs, Muslin 
Signs, Banners, Etc. 

The use of letter patterns, not stencils, but true outlines cut from the best quality of 
pattern stock, showing the letter itself, is now used by the most experienced sign writers. 
With a good outline of letters to begin with, sign work is two-thirds done, and is a decided 
advantage to the expert as well as the beginner. A pattern that is cut true will always 
give a true outline. These patterns are ready to work from, they will not warp or get out 
of shape like paper letters, and with proper care will last a life-time. The styles presented 
in the following list will enable the beginner and those of some experience to do a first- 
class variety of sign lettering in a neat and satisfactory manner. 

HOW TO USE THEM. — In general sign lettering place the patterns upon the surface 
upon which the letters are to be used, so that the spacing will be even, and proceed to out- 
line them by running a sharp pointed lead pencil around the edge of the pattern. This will 
give a correct outline of the letters and ready for painting any color desired. Very few 
sign painters shade letters correctly, but shading may be correctly done with patterns. First 
mark the pattern to show the face of the letter, then move the pattern to the right or left, 
which ever way you desire the shading, and drop as far as you wish the shading to extend, 
and run the pencil around the outside edge only. This will make the shading, all except 
joining the shades of the letters, which should be done with a line at an angle drawn from 
the point of the shading line to the point of the letter. See letter "H" in following illus- 
tration. Any man or boy without previous knowledge of drawing or forming letters can do 
up-to-date sign work with these patterns. They enable the beginner to equal the work of 
many sign writers with years of experience. 

Each set listed consists of 26 letters and character &. Lower case letters to match any 
size or style may be had for the price quoted on capital letters. When four or more styles 
are ordered at one time, forwarding by express is often advisable. When this is desired, 
remit only the net amount of order, without postage. 




LETTER SPACING PRICES 

2 inch letters 25c per set — Postage 3c 6 inch letters 50c per set — Postage 10c 

3 inch letters 30c per set — Postage 6c 8 inch letters 60c per set— Postage 12c 

4 inch letters 40c per set — Postage 6c 10 inch letters 70c per set — Postage 16c 

12 inch letters 90c per set — Postage 22c 

Letter Pattern sets may be had at the above prices. Each set consists of 
26 letters and character &. Cash must accompany order. 

Address W. A. Thompson, 16 E. Huron St., Pontiao, Mioh., U. S. A. 

—140— 



Figure Patterns 




Figures outlined rapidly by running a lead pencil along the edge of pattern. This will 
give a correct outline, ready for painting any color. Any style at the following prices: 

2 inch, per set of 10 15c — Postage 2c 6 inch, per set of 10 30c— Postage 5c 

3 inch, per set of 10 20c — Postage 3c 8 inch, per set of 10 35c — Postage 6c 

4 inch, per set of 10 25c — Postage 4c 10 inch, per set of 10 40c — Postage 7c 



Something New 



SHADED BACKGROUND AND ORNAMENTAL DESIGNS FOR SHOW CARDS, ETC. 
Dozens of Fancy Designs in Nicely 
Blended Colors can be made by 
any one in a few minutes. 

The variety of show card border 
and background designs in the ac- 
companying illustration will give an 
idea of the work done by the New 
Show Card Spray Outfit. The most 
inexperienced can produce from the 
start a first-class variety of show card 
designs of all styles in Air Brush 
Effect, and at a fraction of a cent 
above the cost of common cardboard. 

With this outfit the show card 
writer is above the competition of any 
one in his locality, who is not so 
fortunate (no matter how skilled he 
may be) owing to the fact that the 
work of elaborate designs can be done 
just as quickly as that of a simple 
scroll or outline. The Continuous 
Spray does the work, and can be 
regulated to produce a light or heavy 
tint or shade of any color at the will 
of the operator. 

THE NEW SHOW CARD SPRAY OUTFIT INCLUDES: 

One Show Card Sprayer Complete; six packages of colors — Red, Blue, Green, Brown, Purple and Yellow. Ten 
Background Pattern Outlines — one for show card 22x28 inches, three for 14x22 inches, and six for 11x14 inches. 
Ten Show Card Background Copies, assorted sizes, finished in colors, as shown in accompanying illustration. Full 
instructions showing how to begin, proper position to work, etc. In fact, everything in detail and designed ex- 
pressly for the show card writer. This outfit is the most complete and convenient ever offered for the price, 
and will give entire satisfaction. The assorted colors will be enough for over 3,000 backgrounds when properly 
used. 

EASY TO LEARN 

In less than ten minutes practice with this outfit you can duplicate any design in the above illustration, in 
any color, on a show card, in 30 seconds. This class of work is very simple and an art itself, mechanically exe- 
cuted with ease and rapidity without any previous experience. 

OUTFIT COMPLETE FORWARDED PREPAID $3.00 

Remit by registered letter, postal order, or express money order. Cash must accompany order. 
Address, W. A. Thompson, 16 E. Huron St., Pontlao, Mloh., U. S. A. 

—141— 




Paasches 3 in 1 Air Brushes 

ALWAYS AHEAD! 



Model "E No. 2" Air Brush 



All Paasche's 3 in 1 Air Brushes are fitted with color cup 
bottles. 

Where water colors, dyes and pigments of medium consis- 
tency are to be used, we recommend the Model "E"-2 Air 
Brush as the handiest, most practical and serviceable. This 
model is extensively used for lettering, designing, making ot 
show cards, price-tickets, signs, stencil work, coloring and 
tinting calendars, programs, catalog covers (embossed or 
plain), fans, plumes, portrait backgrounds, photographs, 
mounts, monumental and commercial designs, and like work 
requiring rapidity in execution. 

MODEL "E" NO. 2 AIR BRUSH in leatherette case, with 
set No. 2 color adjusting parts, No. 1 Model "E"-2 color cup 
with strainer, "^ oz. color bottle with strainer, air brush 
hanger, screwdriver, hose attachment nip- 
ple with strainer, and coinplete directions 
for its care and handling 




MODEL "D" 2 AIR BRUSH of same construction but twice as large, suitable for heavier 
work where oil colors and pigments are used for outdoor signs, etc. Price 



$21.00 

$26.00 



Model "F No. 2" Air Brush 

This model made in three sizes— Models H-2, F-2, F-0 




This model is among the most popular air brushes for the 
reason that they are very easy to operate, and beginners can 
turn out very artistic and striking work with it from the very 
start. It is the best obtainable for the money, and very 
commonly used for making show cards, price tickets, signs; 
coloring souvenir post cards, calendars, novelties, draperies, 
ground-laying, and purposes of similar kind. 

MODEL "F" NO. 2 AIR BRUSH in leatherette case with 
No. 2 color adjusting parts. No. 1 Model "F"-2 color cup with 
strainer, J^-oz. color bottle with strainer, air 
brush hanger, hose attachment nipple and 
complete directions for its care and handling 

MODEL "H"-2 AIR BRUSH of same construction but 
twice as large, suitable for heavier work 
where oil and colors and pigments are 
used for outdoor signs, etc. Price 



$12.50 



$18.50 



Remit by draft. Registered letter, Post Office or Express Money Order. 
Huron St., Pontiac, Mich. 



Address, W. A. Thompson, 16 East 



-142- 




Paasche's New, Improved 
Easel and Drawing Table 

Indispensable in Any Sign Shop or Studio 

Adjustable for a standing or sitting position. This table is made 
entirely of metal except the top. It is enameled in imitation mahog- 
any and makes a splendid appearance. The top is made of 3-ply bass- 
wood, revolves into any position whatsoever and quickly detachable. 
It is the only practical combination drawing board or easel with re- 
volving top that can be tilted, raised or lowered without unscrewing 
or tightening of bolts or nuts. It moves friction tight. It is making 
a hit everjrwhere. Does not wobble. 

Paasche Easel Table, 22x30 in. rev. top $ 8.60 

Paasche Easel Table, 24x36 in. rev. top 9.25 

Paasche Easel Table, 30x40 in. rev. top 10.50 

Deduct $2.00 if desired with top without the revolving feature. 

Add $3.00 if desired with double swinging arm and material 
drawer as illustrated. 

Shipping weight, crated for shipment, 56 lbs. 



Paasche Liquid Carbonic Gas 
Outfit 

This outfit is extensively used among beginners and it is the 
most popular among the (ow priced outfits, for the reason that it 
furnishes a steady pressure without having to do any pumping 
necessary with foot or hand operating pumps. The cost of op- 
erating this outfit averages about 2 cents per hour as the price of 
the 20-lb. drum of liquid carbonic gas varies according to the 
location of the user. (The cost of a 20-lb. drum of gas in Chi- 
cago is $1.50.) The supply of gas is obtainable from any soda 
fountain or saloon supply house in your own city. 



LIQUID CARBONIC GAS OUTFIT COMPLETE, less 
drum with wall clamji. wrench and S feet of 
the best air brush tubing. Shipping weight, 
10 lbs 



ir-j^iLin,, less 

$10 00 





Paasche Foot Pump Outfit 

This outfit was originated by us and made a hit from its first ap- 
pearance. With its new improvements, it is the latest, best and easiest 
working outfit of its kind. It works noiseless and will furnish 40 lbs. 
'1 pressure without any exertion. 

5 Weight, packed for shipment, .30 lbs. 

PAASCHE FOOT PUMP OUTFIT, COMPLETE, consisting of 
' Paasche foot pump, air tank with gauge and air (Il''f ^ /\/^ 

i cock, fittings and ten feet of the best air brush tlB I ^ till 

Paasche Foot Pump only, finished in blended enamel $7.00 

Air tank, tested for 60 lbs. air pressure, with hose fittings 2.35 

Air tank, with gauge, air cock and fittings 4.76 



Give directions how you want either outfits shipped — Express or Freight. 



—143— 



9i 



> ; l£ you Are' Interested 

in learning Commardal Show Card Lettenng and Designing by mail ■ 

V; You Can Save Money ; 

on tuitionlee by enrolling' direct with us for our New Course, ()f Irjstruction; 

We Teach Practical Worlc : , 

and a money maker from the, start for those who v\ish to excell jn making 
high class'Show Cards for all purposes. ■, ,. ._] . •„-:;■■' 

^' ' ' 6 Are the Lowest ; 

The difference between our price and that of other Schools simply go to ex- 
pensive magazine advertising, and Solicitors or Agents commission, for 
securing new students. If you are a prospective student, think this matter 
over carefully and you will easily 

Figure It Out Yourself 

why it is possible for us to give the best to be had anywhere at less than half 
the U5ual price. . , • 

We Deal Direct With Students ? 

and our pupils pay only for instruction at first cost, We have no Agents or 
Agents commission to pay out of tuition fees. , , ' 

; ' 75 Per Cent of the Students 

we enroll come directly from those who have seen the work and the wonder- 
ftilsuccess of our former students, Our bfest advertisement is a vvell satisfied 
artci'¥uccessful student. ^., ,■ ' ' , ■" 

, Don't, Pay Fancy Prices 

for instruction when you can get the.best in the world today at a shght mar- 
gin above actual cost. ■ When we say we have the most complete equipment 
in America for successfully teaching by mail arid the Ijowest Tuition Fee, 
we are simply saying what is true,— merely the facts about a reliable school 
/with'. straight-forward business methods. 

:■ Helpful Suggestions for the Student : 

We furnish neat show card copies lettered in nicely blehdejJ colors for student.s 
practice, outside of the lessons and alphabets. 'This feature is original with 
us and is offered by no other school.- Students workpn each lesson corrected 
• and returned postpaid during the course: ' , ' / 

; ^ .Every Student: a Success. r ^ 



The Thompson Scho^ 

'-:^ ■■■; 'r ''PONTIAG,-, M,ICHiGAN."U'S.Ar ''■■^''''- ■:['-/■ }^r' 

• . The Only Exclusive Show Card School in America; 



LIBRftRY OF CONGRESS 



013 972 910 9^ 



